https://pascalsavy.bandcamp.com/album/colour-fields

Originally released on Audio. Visuals. Atmosphere. https://audiovisualsatmosphere.com October 5th, 2018 (AVA62, C57, Edition of 55). 

From the original press release: 

A manifold of hypnagogic frames balancing wind, wave and star. Symmetric pearl timbres touch the seams of the three-dimensional world. 

Volcanic sound transcending its temporal limits, only to be found at the rim of the pyramid. As the wheel turns the balance is attached to the crescentic stone and snow-covered ridges. Sustained pitches acknowledge the spectral phenomena carved in chroma rooms. The mesa of the moon drains diffused energy as pastoral currents break the ocean’s vector.

Colour Fields

A Solarised Vortex

When You Need A Minute

Pontiac Streator - Enter Sandman

From the upcoming Album "Vegetal Negatives"
Release Date 29 March 2019
Hallowground.com
HG1901
Vinyl / Digital

”Let us unfold the animal outward: the bronchia will become a thick foliage, keeping its respiratory function, but in reverse, naturally (CO2 absorption), reversed also concerning color, from the tint of calves’ lungs to its complementary cabbage green. The digestive system will become roots, maintaining its role of drawing in nourishment from the outside environment. […] for each animal form there exists a corresponding vegetal form. The man who would find his vegetal negative and unite with it would restore the integrity of the cosmos.”

Vegetal Negatives is a game of sonic mutations, mimicry, inversions, and association inspired by a text called "On pataphotograms", by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination.

Marja Ahti (b. 1981) is a Swedish-born artist living and working in Turku, Finland. She has been an active part of the Finnish experimental music scene for more than ten years. Now arriving at her debut LP under her own name, Ahti explores a new formal language and sonic palette that ventures far from the path of her earlier work.

The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood's ideas about associative movements between sounds based on shared characteristics and sonic energy. Her approach to field recordings is neither diaristic, documentaristic, nor purely acousmatic, but rather it starts out from somewhere in between these notions: the sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing. Acoustic environments mutate into synthetically derived shadow forms.

The opening track, "Coastal Inversion”, moves from a seemingly familiar seascape into an ocean of wavelike synthetic staccato patterns, turning itself inside-out on the shore, before diving back into a sea of resonance. ”Rooftop gardens” arranges a series of largely unprocessed field recordings into a dream-logic sequence of upward movement towards the clouds. On the other side, ”Symbiogenesis” brews a slow evolution of wet, airy and earthy sounds and resonant friction. The closing track, ”Chora”, imagines a meditative space of breath: filter resonance posing as organ pipes against a backdrop of breezy industrial hoovers merges halfway with a harmonium improvisation that foregrounds the frictions of the wooden instrument itself, just before filtering out into resonant harmony.

Tracklist:
A1) Coastal Inversion (12:14)		B1) Symbiogenesis (07:22)
A2) Rooftop Gardens (05:44)		B2) Chora (10:47)

Credits:
Marja Ahti: composition, production, field recording, Buchla 200 and ARP 2600
Recorded at EMS, Stockholm, WORM, Rotterdam, and on locations in Greece, Alaska, Finland and Sweden.
Mastered by Giuseppe Ielasi
Designed by Ruth Stofer

Vegetal Negatives

BUY VINYL/DL

MARJA AHTI - Symbiogenesis (HG1901)

VAKNAR 26

Cassettes come housed in printed J-Cards

Edition of 65

Artwork by O.R

Appropriate Savagery - Introspection & Sacrifice, The End Of Your Influence [Vaknar]

From album IFS - MONG DISC
Listen and buy (digital / cassette): http://pointless-geometry.bandcamp.com

Music by IFS - Mateusz Wysocki (@fischerle) & Krzysztof Ostrowski (@kook-on) / https://www.facebook.com/ifsite
Master by Nagy Roland / @fausto_mercier
Artwork and design by Copy Corpo / www.facebook.com/copycorpo

POINTLESS GEOMETRY 2019 / POINT#35
polish audio/video cassette label
Release date: 01.10.2019
Limited edition of 60 copies / C39 cassette

Mong Disc

IFS - SURFACE / POINT#35

Montezuma Oropendola (Psarocolius montezuma)singing in a tree, in the middle of a banana field. Recorded close to the village of Paso de Telaya in the state of Veracruz. 

ORTF microphone setup, Schoeps CCM4 x 2 in a Cinela windscreen
Sound Devices MixPre
Original Recording in Wave 96kHz 24bit
Sound Ref: MX-200402-03
GPS: 20.156221, -96.873653
Recorded during a residency at Casa Proal

Montezuma oropendola bird call

Mellow synth

Cara Tolmie's practice centres itself upon the voice, the body and the complex ties between the two. At once subjective as well as socially determined, she explores voice and body as two codependent entities able to prompt as well as contradict one another. 

Here, on her debut release, her vocal ruminations explore a practice of sounding on both the inhale and exhale as well as a self-soothing touch strategy she developed in reaction to symptoms triggered by post-concussion syndrome. In an attempt to displace vocality towards and through parts of the body extraneous to the mouth, Cara lets sounds forge paths and encircle the body's inner topography, soaking her voice through a labyrinth of pumping blood, organs and the touch of skin.

The result is a music that offers snapshots of the body tempered by different conditions; resting, moving, listening, pleasure, strain and sensitivity. Cara invokes waves of sound; sometimes calm and meditative, sometimes teetering on discomfort; sometimes falling into an anxious refrain. 'Lit by a Car' offers the space and time to come to terms with these feelings and give them life - letting the breath of voice twist and turn in compellingly peculiar new directions.

TR071 - Cara Tolmie - 'towards a party (of 3 or 4 or 5)'

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-167/

FFFoxy Podcast #167

The Setting And The Fire

Distance Machine - A-pile-of-things-to-leave-and-some-things-you-will-take-no-matter-what

https://www.thewire.co.uk/audio/tracks/unlimited-editions-pointless-geometry

https://www.dwutygodnik.com/artykul/11779-rozszczelnianie-kultury.html

IFS - SURFACE / POINT#35

Pointless Geometry

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